" 1984" RELEASE SCRIPT.

[Orwell, George]: Templeton, William P., and Ralph Bettinson [adap]:

[London?]: Associated British Picture Corporation Ltd., 18 January 1956., [1],114 leaves foolscap. Mimeographed typescript, printed on rectos only, punched in left margin and string-tied into plain wrappers with typed label. Wrappers a bit sunned and used at overlap edges, with a bit of loss at toe of spine and ragged tear at one punch-hole, internally about fine. A post-production release script for the 1956 British film adaptation of Orwell's novel, recording the dialogue, timing and cinematic details of the final version of the film. Directed by Michael Anderson, and starring Edmond O'Brien, Jan Sterling, Michael Redgrave, Donald Pleasance, et al, this b&w adaptation captured the dingy bleakness of Orwell's vision of the future, and served its origin well. The film is itself rather elusive these days, and any scripts and publicity paper associated with it even more so. This is denoted "Copy No. 38" of the release script.

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" A FAREWELL TO ARMS" BASED ON THE NOVEL BY ERNEST HEMINGWAY.

[Hemingway, Ernest]: Petitclerc, Denne Bart:

[Np]: Bart-Palevsky Productions, [nd. but ca. 1970s]., [1],132 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only of blue stock. Bradbound in hot-stamped wrappers. Title hand-lettered on spine. Very good or better. An unspecified draft of this unproduced adaptation to the screen of Hemingway's novel. Petitclerc wrote the script for the 1977 adaptation of ISLANDS IN THE STREAM.

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" A HIGH WIND IN JAMAICA" SCREENPLAY BY....

[Hughes, Richard]: Johnson, Nunnally [adap]:

[Beverly Hills]: Twentieth Century-Fox, 5 June 1963., [1],159 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only, bradbound in printed studio wrappers. Large overlap edges of wrappers a bit frayed and torn, internally fine. Denoted a "first draft" of Johnson's adaptation to the screen of Hughes's classic novel of the corruptibility of "innocent" children extracted by events from their normal environment. This would appear to be an exceptionally early form -- and perhaps even a form never utilized -- of the script for the 1965 film. Johnson, the accomplished writer/director whose long career included an Oscar for his adaptation of GRAPES OF WRATH a quarter century earlier, did not receive screen credit for the film. The final script is credited to Stanley Mann, Ronald Harwood and Denis Cannan.

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" ADOLESCENT ROMANCE."

Ratner, Rochelle:

[New York]. [ca. 1987]., 225 leaves. Typescript. Quarto. Punched and bound in plain plastic binder, accompanied by a t.l.s. and a t.m., with long signed manuscript postscript. Very good. A very early draft of the novel which was eventually published in 1991 by Coffee House Press under the title, THE LION'S SHARE. The typescript is heavily marked up and annotated throughout by Ratner's friend, poet/editor Susan Mernit, in the course of a close reading at Ratner's request. Ratner's typed summary of Mernit's suggestion is present, and is supplemented by a later (11/21/92) autograph summary of the reading/critiquing/revising process at work here. The present typescript represents the 8th or 9th draft; Ratner indicates the novel went through a total of eighteen drafts before publication. Comparison of the present draft with a portion of the published text clearly indicates a substantial evolution of the text between this stage a the final text. Accompanied by a brief t.l.s. (NY, 22 Nov. 1992) forwarding the lot to be an element in a fundraiser for the National Book Critics' Circle.

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" ADOLF HITLER - MY PART IN HIS DOWNFALL" RELEASE SCRIPT.

[Milligan, Spike]: Byrne, Johnny:

[Np, but UK]: United Artists January 1973., [1],105 leaves. Narrow quarto. Mimeographed typescript, printed on rectos only, clasp-bound at top in plain wrappers, paper label. Wrappers lightly used at extended overlap edges, but a very good or better copy. Spike Milligan played his own father in this 1972 film version of his novel, a fictional account of his war-time experiences. Directed by Norman Cohen, starring Jim Dale as the young Spike, with Arthur Lowe, Billy Maynard, and Pat Coombs.

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" ALL THE WAY HOME"... ORIGINAL SCREENPLAY BY... BASED ON THE NOVEL "A DEATH IN THE FAMILY" BY JAMES AGEE AND THE STAGE PLAY "AL

[Agee, James]: Reisman, Philip, Jr.: [screenwriter]:

[Np]: Paman Productions Inc. - Paramount Pictures Corp., 5 September 1962., [1],197 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in titled stiff paper binder. Binder sunned and lightly used at overlap edges, a few related pencil notes on verso of last leaf, fore-margin of one leaf a bit tanned and frayed, extreme upper fore-corner of another leaf torn away, but very good. A preproduction draft of this important adaptation to the screen of two Pulitzer-winning literary properties, Agee's 1957 novel, and Mosel's 1960 adaptation of the novel to the stage. While the specific draft which the script in hand reflects is not identified, its length, which would translate into a film considerably longer than the eventual release length of 97 minutes, suggests further revision lay ahead before shooting. The film, under the direction of Alex Segal, starred Jean Simmons, Robert Preston, John Henry Faulk, Pat Hingle, et al.

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" BREATHING LESSONS" TELEPLAY BY ... BASED ON THE NOVEL BY ANNE TYLER.

[Tyler, Anne]: Lenski, Robert W.:

[Np]: Signboard Hill Productions, [nd. but ca. 1993]., [1],116 leaves. Quarto. Photographically reproduced typescript, printed on rectos only. Bradbound in printed production company wrappers. pencil notes re: casting on upper wrapper, else very good. A "first draft" of this adaptation of Tyler's 1988 Pulitzer Prize-winning novel for television. The February 1994 broadcast was directed by John Erman, and starred James Garner, Joanne Woodward. et al.

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" BRITANNIA MEWS" SCREENPLAY BY....

Lardner, Ring, Jr. [adap]:

[Beverly Hills]: Twentieth Century-Fox, 30 August 1948., [2],132 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed studio wrappers. Alternate U.S. title ("The Forbidden Street") handlettered on upper wrapper and spine, checkout slip clipped from prelim, but a very good or better copy. Denoted a "Final Draft" of this adaptation to the screen by Lardner of Margery Sharp's novel. The film was released the following May, starring Dana Andrews, Maureen O'Hara and Sybil Thorndike under the direction of Jean Negulesco. Lardner was likely at work on this script in the months preceding his call, on 30 October 1947, to testify before the HUAC. He had been discharged by 20th Century-Fox just days before his appearance, and like many of the other uncooperative witnesses associated as the Hollywood Ten, he was sentenced to a term in prison. Given his status as the most highly paid studio writer in Hollywood prior to his dismissal, it seems clear that Fox had little desire to set aside their investment in this film's script as easily as they set aside the man, as it continued to bear his name.

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" DIAMONDS ARE FOREVER" DOMESTIC VERSION EXPORT SCRIPT....

[Fleming, Ian]:

[London]: Eon Productions, [10 December 1971]., Not paginated, but ca. 200 leaves. Tall quarto. Mechanically reproduced typescript, printed on rectos only of various colored papers, punched at top and claspbound in printed wrappers. Upper wrapper and first two leaves detached from clasp, wrappers somewhat frayed at edges, but a good copy. A bulky and very detailed export script for this James Bond film, based on Richard Maibaum's adaptation of Fleming's novel, directed by Guy Hamilton. Although by definition a post-production script, any legitimate script material for the Sean Connery Bond films is uncommon in the marketplace.

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" FOREVER AMBER" SCREENPLAY BY....

Dunne, Philip, [and Ring Lardner, Jr.] [adap]:

[Beverly Hills]: Twentieth Century-Fox Film Corp., 27 October - 29 November 1945., [1],169 leaves. Quarto. Mimeographed typescript, printed on rectos only of white and blue stock. Bradbound in studio wrappers. Wrappers a bit used at extended overlap edges, neat partial separation up one spine fold, but a very nice copy. A relatively early draft (though denoted "Final") of Dunne's screenplay for the adaptation of Kathleen Winsor's period costume novel to the screen. Ring Lardner Jr. is credited with having a considerable hand in the final form of the script that made it to the screen, but for this draft, his participation is not credited. It would seem most likely that Lardner, then the highest paid screenwriter working in Hollywood, stepped in at some point either prior to, or after this draft and made his contribution. The film was directed by Otto Preminger (with whom Lardner had worked on LAURA in 1943) and John M. Stahl, and starred Linda Darnell, Cornell Wilde, Jessica Tandy, et al. It was formally released in 1947, the dark year that found Lardner and many others working in Hollywood called before the HUAC.

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" FORM AND LIFE IN THE NOVEL: TOWARD A FREER APPROACH TO AN ELASTIC GENRE" [caption title].

Madden, David:

Pp.: Reprinted from THE JOURNAL OF AESTHETICS AND ART CRITICISM XXV:3, Spring 1967., Stapled printed wrappers. An author's separate, inscribed by him to an academic mentor. Folded for mailing, else very good, with author's return address laid in.

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" GENTLEMEN PREFER BLONDES" SCREENPLAY BY....

[Loos, Anita]: Lederer, Charles:

[Los Angeles: 20th Century-Fox], 19 August 1952., [1],140 leaves. Quarto. Mimeographed typescript, printed on rectos only of yellow stock. Bradbound in stenciled wrappers. Production stamps on upper wrapper, wrappers a bit used at overlap edges, with snag-tear to spine, internally about fine. Denoted a "Writer's Working Script." An unspecified but pre-production script of Lederer's adaptation to the screen of the 1949 Broadway musical adaptation (by Joseph Fields) of Anita Loos's novel. The film was directed by Howard Hawks, and starred Marilyn Monroe and Jane Russell. It was released in July of 1953, and Lederer's script was nominated for an award from the WGA. Of special note as one of Monroe's most important early roles, and of added significance because the 1928 adaptation by John Emerson is, as of current references, a lost film.

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" I CAN GET IT FOR YOU WHOLESALE" SCREENPLAY BY....

[Weidman, Jerome]: Polonsky, Abraham:

[Los Angeles]: Twentieth Century-Fox, 4 August 1950., [2],168 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed studio wrappers. Light use at overlap wrapper edges, check-out coupon clipped, otherwise about fine. Denoted a "Revised First Draft Continuity" script, but in fact, an early pre-production script, and not a continuity script in the regular sense. A screenplay by Polonsky, via an adaptation by Vera Caspery, of Weidman's novel (and later, musical play), released in April 1951, directed by Michael Gordon, starring Susan Hayward, Dan Dailey and Sam Jaffe. As screenwriter for BODY AND SOUL (1947) and writer/director of FORCE OF EVIL (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with HUAC in 1951. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits. The degree of Caspary's involvement in this adaptation is unclear -- this draft is credited solely to Polonsky, and Caspary may have either done an earlier treatment, or had some involvement after this draft. Accompanied by a separately bound script breakdown, [6],82 leaves, dated 2 October 1950, bearing a few pencil annotations.

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" I spit on your grave".

Vian, Boris

New York: Audubon Books, 1971 153p., first US edition of J'Irai Cracher sur Vos Tombes, wraps. Novel of interracial rape and murder, set in the south, by the French jazz musician.

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" LES MISERABLES" FROM THE NOVEL BY VICTOR HUGO SCREEN PLAY BY....

[Hugo, Victor]: Lipscomb, W.P. [adap]:

[Beverly Hills]: Twentieth Century-Fox Film Corp., 16 January 1935., [1],176 leaves. Quarto. Carbon typescript, on rectos only. Bradbound in studio wrappers. Light use and a few short tears at overlap wrapper edges, soft crease in title leaf, otherwise a very good to near fine copy. Denoted a "Final Script" of this adaptation to the screen of Hugo's novel. The 1935 film was directed by Richard Boleslawski, and starred Frederic March, Charles Laughton, Cedric Hardwicke, et al. While its ultimate faithfulness to Hugo's novel is open to debate, the film was highly popular, and was nominated for several Oscars, including that for Best Picture. Lipscomb is credited with a substantial body of adaptations to the screen of literary properties and period costume dramas during the 1930s, ranging from THE SPECKLED BAND to PYGMALION, and including the 1935 MGM classic, A TALE OF TWO CITIES. The film's final release running time was 108 minutes; the length of this script, as well as its format as carbon typescript rather than mimeographed typescript, suggests the potential for variations between this draft and what finally appeared on the screen.

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" MASH" FIRST DRAFT SCREENPLAY BY ... FROM THE NOVEL BY RICHARD HOOKER.

Lardner, Ring, Jr.: [screenwriter]:

[Beverly Hills]: Twentieth Century-Fox, 1 November 1968., [1],156 leaves. Quarto. Mimeographed typescript, bradbound in printed studio wrappers. Title neatly lettered on spine, production number stamped on upper wrapper, a few faint marks to wrappers, otherwise near fine. A "first draft" of the screenplay for Lardner's adaptation of Hooker's novel, one of the seminal films of its era, and though set in Korea, one of the handful of on-target critiques of the Vietnam war released by a Hollywood studio. A cursory comparison with a "final" draft from 26 February 1969 (which itself differs substantially from the released film) reveals both subtle and significant revisions took place between the two drafts. The January 1970 release was directed by Robert Altman, and starred Donald Sutherland, Eliott Gould, Robert Duvall, Sally Kellerman, Tom Skerritt, Gary Brughoff, et al. It was also one of Lardner's post Blacklist triumphs, for which he won an Academy Award.

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" MONSIGNORE" SCREENPLAY BY....

Polonsky, Abraham:

[Np]. 4 December 1979., [1],124 leaves. Quarto. Mimeographed typescript, printed on rectos only. Boltbound into plain stiff wrappers. Scattered and occasionally detailed revisions, deletions, comments and annotations in an unknown hand, in pencil and ink, otherwise very good or better. Denoted a "Final Draft" of Abraham Polonsky's adaptation to the screen of Jack-Alain Léger's novel. However, many subsequent revised drafts followed, and the script for the 1982 film release directed by Frank Perry was credited on screen to Wendell Mayes, who wrote at least one early draft in February 1979. In spite of that, drafts as late as October 1981 bore only Polonsky's name. This was the last film with which Polonsky was associated as screenwriter, though to what degree it was a collaborative effort is unclear. As screenwriter for BODY AND SOUL (1947) and writer/director of FORCE OF EVIL (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with HUAC. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits. While the author(s) of the annotations may not be identifiable at this point, the notes/revisions were surely made by someone intimately involved in the process.

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" MONSIGNORE" SCREENPLAY BY....

Polonsky, Abraham:

[Np]: Twentieth Century-Fox, 18 - 25 October 1979., [1],145 leaves plus lettered inserts and revised on blue paper. Quarto. Photographically reproduced typescript, printed on rectos only. Bradbound in printed studio wrappers. Title lettered in ink on upper wrapper, very good. An unspecified but early draft of Abraham Polonsky's adaptation to the screen of Jack-Alain Léger's novel. Many subsequent revised drafts followed, and the script for the 1982 film release directed by Frank Perry was credited on screen to Wendell Mayes, who wrote at least one early draft in February 1979. In spite of that, other drafts as late as October 1981 bore only Polonsky's name. This was the last film with which Polonsky was associated as screenwriter, though to what degree it was a collaborative effort is unclear. As screenwriter for BODY AND SOUL (1947) and writer/director of FORCE OF EVIL (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with HUAC. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits.

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" MONSIGNORE" SCREENPLAY BY....

Polonsky, Abraham:

[Np]: Twentieth Century-Fox 30 July 1980., [1],142 leaves. Quarto. Photographically reproduced typescript, printed on rectos only. Bradbound in printed studio wrappers. Two neatly written ink queries re: plotting in upper margin of front wrapper, a couple corner creases, title lettered on spine, else very good or better An unspecified draft of Abraham Polonsky's adaptation to the screen of Jack-Alain Léger's novel. However, a number of drafts preceded, and many subsequent revised drafts followed, and the script for the 1982 film release directed by Frank Perry was credited on screen to Wendell Mayes, who wrote at least one early draft in February 1979. In spite of that, drafts as late as October 1981 bore only Polonsky's name. This was the last film with which Polonsky was associated as screenwriter, though to what degree it was a collaborative effort is unclear. As screenwriter for BODY AND SOUL (1947) and writer/director of FORCE OF EVIL (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with HUAC. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits.

Price: $175.00

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" MONSIGNORE" SCREENPLAY BY....

Polonsky, Abraham:

[Np]: Twentieth Century-Fox, 17 July 1981., [1],132 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in printed studio wrappers. Slight sunning to wrappers, title lettered on spine, but very good or better. An unspecified draft of Abraham Polonsky's adaptation to the screen of Jack-Alain Léger's novel. However, a number of drafts preceded, and many subsequent revised drafts followed, and the script for the 1982 film release directed by Frank Perry was credited on screen to Wendell Mayes, who wrote at least one early draft in February 1979. In spite of that, drafts as late as October 1981 bore only Polonsky's name. This was the last film with which Polonsky was associated as screenwriter, though to what degree it was a collaborative effort is unclear. As screenwriter for BODY AND SOUL (1947) and writer/director of FORCE OF EVIL (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with HUAC. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits.

Price: $175.00

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